Safe in oblivion's chambers strong,
One cup of recognition true
Shall silently be drained to you!"

"But Masaccio does not need any other monument than this chapel. He is
not very badly off, I am sure, while this stands, and people come from
all over the world to visit it," exclaimed Malcom, as they left the
Brancacci Chapel, and walked slowly down the nave of the church.

"Is this all he painted?" asked Barbara.

"There is one other fresco in the cloister of this same church, but it
is sadly injured--indeed half obliterated," answered Mr. Sumner. "That
is all. But his influence cannot be estimated. What he, then a poor,
unknown young man, working his very best upon these walls, accomplished
for the great world of painting can never be measured. He surely wrought
'better than he knew.' This was because he, for the first time in the
history of modern painting, portrayed real life. All the
conventionalities that had hitherto clung, in a greater or less degree,
to painting, were dropped by him; and thus the way was opened for the
perfect representations of the High Renaissance which so soon followed.
We will next give some time to the study of the works of Ghirlandajo and
Botticelli, who, with Filippino Lippi, who finished these frescoes which
we have just been looking at, make a famous trio of Early Renaissance
painters."

After they had crossed Ponte alla Carraja, Margery said she wished to do
some shopping on Via dei Fossi, which was close at hand--that street
whose shop windows are ever filled with most fascinating groups of
sculptured marbles and bronzes, and all kinds of artistic